IMDb RATING
6.7/10
8.5K
YOUR RATING
A dedicated schoolteacher spends her nights cruising bars, looking for abusive men with whom she can engage in progressively extreme sexual encounters.A dedicated schoolteacher spends her nights cruising bars, looking for abusive men with whom she can engage in progressively extreme sexual encounters.A dedicated schoolteacher spends her nights cruising bars, looking for abusive men with whom she can engage in progressively extreme sexual encounters.
- Nominated for 2 Oscars
- 1 win & 6 nominations total
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaTom Berenger admitted in an interview that he had nightmares after he was finished shooting all of his scenes as Gary.
- GoofsIn the book, Theresa's sister Katherine goes to Puerto Rico to procure an abortion during a scene that takes place in the mid-1960s. In the movie, the timeline is changed so that this scene is set in 1975, two years after abortion was legalized by the Roe v. Wade ruling, making the trip to Puerto Rico unnecessary.
- Crazy creditsThe Paramount logo is shortened at both ends, fading in at the point the text already appears. It was gray-scaled in the closing version.
- ConnectionsFeatured in Sex, Censorship and the Silver Screen: Forward Into the Past (1996)
- SoundtracksTry Me, I Know We Can Make It
Written by Donna Summer (uncredited), Giorgio Moroder (uncredited) and Pete Bellotte (uncredited)
Performed by Donna Summer
Courtesy of Casablanca Record & FilmWorks
Featured review
Relentlessly depressing.
Probably the biggest problem with this movie other than its insistence that all men are either worthless sexual predators or pathetic, near-impotent panderers is the fact that it has aged so badly. In an age when a small army of women under 30 seem hell-bent on doing all they can to turn their livers and septums to mush in as short a time as possible, Diane Keaton's Theresa Dunn no longer comes across as somebody out of the ordinary.
Diane Keaton gives a performance that is by turns both sensitive and irritating as her character revolves around her schizophrenic lifestyle. As a child, Dunn was encased in plaster, a result of scoliosis, and it seems that this is what compels her to take so many risks in her effort to find the kind of freedom she was denied as a kid both by her spell in traction and by a harsh, overbearing Catholic upbringing. She is full of love, as indicated by her relationship with the deaf children she teaches, but gives it in all the wrong ways, leading to encounters with equally warped characters. One of these is Richard Gere in the role that first brought him to Hollywood's attention and which serves as a kind of template for the role of Jesse in Jim McBride's ill-fated remake of Breathless. The other is Tom Berenger, a borderline psychopath tortured by his own homosexuality. Both are characters no right-thinking adult would want to get involved with, but Keaton's self-destructive personality draws her to them, and while you want her to break free from her sleazy night-life a part of you can't help thinking she's going to get what she deserves.
The problem with Dunn is that she engages the viewers' sympathy in her straight persona then keeps pushing them away with her self-indulgent excesses and sometimes callous treatment of those who love her most. Combined with the relentlessly depressing atmosphere of impending tragedy that hangs over the entire film, this makes Looking for Mr. Goodbar a difficult film to enjoy (or even watch) and one to which many people wouldn't wish to return.
Diane Keaton gives a performance that is by turns both sensitive and irritating as her character revolves around her schizophrenic lifestyle. As a child, Dunn was encased in plaster, a result of scoliosis, and it seems that this is what compels her to take so many risks in her effort to find the kind of freedom she was denied as a kid both by her spell in traction and by a harsh, overbearing Catholic upbringing. She is full of love, as indicated by her relationship with the deaf children she teaches, but gives it in all the wrong ways, leading to encounters with equally warped characters. One of these is Richard Gere in the role that first brought him to Hollywood's attention and which serves as a kind of template for the role of Jesse in Jim McBride's ill-fated remake of Breathless. The other is Tom Berenger, a borderline psychopath tortured by his own homosexuality. Both are characters no right-thinking adult would want to get involved with, but Keaton's self-destructive personality draws her to them, and while you want her to break free from her sleazy night-life a part of you can't help thinking she's going to get what she deserves.
The problem with Dunn is that she engages the viewers' sympathy in her straight persona then keeps pushing them away with her self-indulgent excesses and sometimes callous treatment of those who love her most. Combined with the relentlessly depressing atmosphere of impending tragedy that hangs over the entire film, this makes Looking for Mr. Goodbar a difficult film to enjoy (or even watch) and one to which many people wouldn't wish to return.
helpful•2718
- JoeytheBrit
- Oct 1, 2008
Details
- Release date
- Country of origin
- Language
- Also known as
- Auf der Suche nach Mr. Goodbar
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $22,512,655
- Opening weekend US & Canada
- $1,540,635
- Oct 23, 1977
- Gross worldwide
- $22,512,655
- Runtime2 hours 16 minutes
- Sound mix
- Aspect ratio
- 1.85 : 1
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Top Gap
By what name was Looking for Mr. Goodbar (1977) officially released in India in English?
Answer